Hirt mit fünf absteigenden Kühen 1928

Curator: We’re standing before Ernst Ludwig Kirchner's 1928 woodcut, "Herdsman with Five Descending Cows," currently held at the Städel Museum. Editor: It's strikingly stark. The heavy black lines against the white paper give it a very imposing presence. I almost feel the steepness of the landscape. Curator: Indeed, the simplification and exaggeration are typical of German Expressionist printmaking. Notice the composition – the repeated, almost cascading arrangement of the cows creates a strong diagonal movement across the plane. The linework is crucial to capturing form and expression. Editor: I am also struck by how much physicality would be involved in the carving and printing of this woodblock. It isn't merely a representation; it's evidence of Kirchner's labor and craft. Did the choice of the medium itself express something about the values Kirchner wanted to convey about this rural scene and way of life? Curator: It very well could. The crude, almost brutal technique aligns with Expressionism's broader critique of modernity, its focus on raw emotion. The material imparts its unique qualities of sharpness and texture. The image seems to vibrate on the plane, doesn’t it? Editor: Yes, in the contrasts. But in my reading, that crudeness highlights a connection to the material realities of the rural subjects and working methods of Kirchner. I see his aesthetic decisions also carrying connotations regarding contemporary labor and consumption practices that are crucial for me. Curator: An interesting and compelling argument, considering the broader scope of printmaking in that era. Editor: Well, Kirchner clearly invites us to contemplate both the objective elements, the very 'structure' of this woodcut, and its process-oriented qualities. It remains thought-provoking. Curator: Absolutely. The dialectic you have outlined adds more context to the emotional intensity captured in Kirchner's compelling artwork. Thank you.